arsenjuk | School of Languages, Literatures, and Cultures

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<a href="/">Home</a> </li> </ol> </nav> </div> </div> </div> <div class="section--gray"> <div class="wrapper--ks"> <div class="silc-grid silc-grid--collapse callout--contact--card callout"> <div class="silc-grid__col silc-grid__col--3-medium"> <div class="contact--feed__img"> <img alt="arsenjuk_flowers" loading="eager" src="/sites/default/files/2024-11/flowers.jpg" width="4032" height="3024" /> </div> </div> <div class="silc-grid__col silc-grid__col--3-medium"> <p class="contact--feed__cred"> Associate Professor, School of Languages, Literatures, and Cultures <br> Associate Professor, Cinema and Media Studies <br> <span> </span> </p> <span class="contact--feed__cred"><p> </p> </span> <a href="mailto:arsenjuk@umd.edu" class="contact--feed__email contact--feed__icon">arsenjuk@umd.edu</a> <p class="contact--feed__location contact--feed__icon"> 4124 Jiménez Hall<br> <a target="_blank" href="https://maps.google.com?daddr=4124 Jiménez Hall College Park MD 20742"> Get Directions </a> </p> </div> <div class="silc-grid__col silc-grid__col--3-medium"> <h2 class="header__h3 header--margin-bottom">Education</h2> <p class="contact--feed__education" > Ph.D., Program in Literature, Duke University (2010) <br> </p> <h2 class="header__h3 header--margin-bottom">Research Expertise</h2> <p> <p> Aesthetics<br> Critical Theory<br> Film studies<br> Media Studies<br> </p> </p> </div> <div class="silc-grid__col silc-grid__col--3-medium"> </div> </div> </div> </div> <section class="main"> <div class="wrapper--ks"> <div class="silc-grid silc-grid--collapse silc-grid--no-gutters"> <div class="silc-grid__col silc-grid__col--8-medium"> <div class="section--padded-small user-bio"> <p>Luka Arsenjuk completed his PhD in Literature at Duke University (2010) and works as associate professor of cinema and media studies and comparative literature at the University of Maryland, College Park. He is the author of <a href="https://www.upress.umn.edu/book-division/books/movement-action-image-montage"><em>Movement, Action, Image, Montage: Sergei Eisenstein and the Cinema in Crisis</em></a> (University of Minnesota Press, 2018) and has written essays on cinema, philosophy, political theory, and the relationship between politics and art. In 2018, he won the Society for Cinema and Media Studies Award for Best Essay in an Edited Collection for his essay “to speak, to hold, to live by the image: Notes in the Margins of the New Videographic Tendency” (in <a href="https://cup.columbia.edu/book/the-essay-film/9780231176958"><em>The Essay Film: Dialogue, Politics, Utopia</em></a>). His next book is entitled <em>The Heist Project </em>and will be published by Northwestern University Press. He serves as one of the editors for <a href="https://digitalcommons.wayne.edu/discourse/"><em>Discourse: Journal for Theoretical Studies in Media and Culture</em></a>.</p><p><strong>Recent Publications</strong></p><p><span>“Between History and the Discord of Time: The Figure of the Migrant in </span><em><span>A Seventh Man</span></em><span> and </span><em><span>Transit</span></em><span>,” in </span><em><span>The Palgrave Handbook of Literature and Migration</span></em><span>, eds. Corina Stan and Charlotte Sussman (London: Palgrave MacMillan, 2023), 61–75.</span></p><p><a href="https://nonsite.org/red-aesthetics-rodchenko-brecht-eisenstein/"><span>“The Problem of Political Art: Notes on </span><em><span>Red Aesthetics</span></em><span>”</span></a><span> </span><em><span>NONSITE</span></em><span> Issue #41 (Fall 2022).</span></p><p><span>“The Audio-Visual Nonrelation and the Digital Break” in </span><em><span>The Oxford Handbook of Film Theory</span></em><span>, ed. Kyle Stevens (New York: Oxford University Press, 2022), 359–375.</span></p><p><span>“</span><em><span>Zametki ko vseobshchei istorii kino</span></em><span> i dialektika eizenshteinovskogo obraza [The </span><em><span>Notes for a General History of Cinema </span></em><span>and the Dialectic of the Eisensteinian Image],” in </span><em><span>Eizenshtein dlia XXIogo veka </span></em><span>[Eisenstein for the 21st Century], ed. Naum Kleiman (Moscow: Garage, 2020), 44–55.</span></p><p><span><strong>Teaching (a selection of frequently taught courses)</strong></span></p><p><span>CINE302 Cinema History II: The Sound Era</span><br>CINE319C Images of Revolt: Strike, Riot, Uprising (co-taught with Dr. Mauro Resmini)<br>CINE342 Film Comedy<br><span>CINE369P Paranoia and Conspiracy Narrative in Contemporary Cinema</span><br>CINE419A The Essay Form Across Media<br>CINE419V Videographic Essay in Theory and Practice<br>CINE459A The Heist Film<br>CINE469G Cinema in the History of Media<br>CINE469W Cinema and Work</p> </div> </div> </div> <div class="silc-grid silc-grid--collapse silc-grid--no-gutters"> <div class="silc-grid__col silc-grid__col--10-medium"> <div class="section--padded-small"> <div class="silc-accordion silc-accordion--become-tabs"> <nav class="silc-accordion__nav"> <ul class="silc-accordion__nav-items"> <li class="silc-accordion__nav-item"><a class="silc-accordion__nav-link" href="#silc-accordion-publications">Publications</a></li> </ul> </nav>  <div class="views-element-container"> <section class="silc-accordion__section" id="silc-accordion-publications"> <header class="silc-accordion__header"> <h2 class="silc-accordion__label"> Publications </h2> </header> <div class="silc-accordion__content"> <div class="silc-accordion silc-accordion--light silc-accordion--results silc-accordion--user-tabs" data-silc-accordion-open-first data-silc-accordion-open-multiple> <section class="silc-accordion__section"> <div class="silc-accordion__header"> <h2 class="silc-accordion__label "> Between History and the Discord of Time: The Figure of the Migrant in A Seventh Man and Transit </h2> <h3 class="header__h5">Essay published in The Palgrave Handbook of European Migration in Literature and Culture</h3> <p class="contact--feed__unit hide-if-no-children"> <span class="unit"> School of Languages, Literatures, and Cultures | Cinema and Media Studies </span> </p> <span class="caption bolded">Author/Lead: </span> <span class="caption inline-block--caption"> <a title="View user profile." href="/directory/luka-arsenjuk">Luka Arsenjuk</a> </span> <br> </div> <div class="silc-accordion__content inner-field-wrap"> <div class="silc-accordion__content--leading"> <span class="caption bolded">Dates:</span> <span class="caption inline-block--caption"> <time datetime="2023-11-21T12:00:00Z">Tuesday, November 21, 2023 - 12:00</time> </span> <br> </div> <div class="silc-accordion__callout"> <div class="silc-accordion__floating-content"> <p>This chapter offers a comparative analysis of the figuration of migratory movement in A Seventh Man (1975), a photo-essay reportage produced by the writer John Berger and the photographer Jean Mohr, and Transit (2018), a film by the German director Christian Petzold. It seeks to make sense of the curious figure of the migrant one finds in Petzold’s film (based loosely on Anna Seghers’ 1944 novel by the same name about World War II refugees). As a close reading of the film shows, Transit rejects the coherence of the history or period film genre, plays with multiple generic forms, uses incongruous modes of narration, and introduces a protagonist who pretends to be someone else and whose time is therefore someone else’s time. In these ways, the film ties the figure of the migrant to an experience of time that is essentially one of discontinuity and crisis—time as a superimposition of discordant temporalities. To set in relief the historical novelty of such a migratory figure, the chapter approaches Transit through a reading of A Seventh Man, a text that relates the temporal discord of migratory movement to the Marxist historical schema of combined and uneven development. What is new about Transit, and what the film offers as a distinct problem for the figuration of migration in our own situation, is precisely the waning or even the absence of any such historical schema or shared temporal horizon. Based on this diagnosis, the chapter argues, the task of the figuration of migratory movement today lies in reinventing a shared sense of temporal existence, a collective time that would allow the figure of the migrant to not only inscribe the crises of our present moment but also prefigure future forms of emancipation.</p> </div> </div>  </div> </section> <section class="silc-accordion__section"> <div class="silc-accordion__header"> <h2 class="silc-accordion__label "> The Problem of Political Art: Notes on Red Aesthetics </h2> <h3 class="header__h5">An essay published in online journal Nonsite (issue #41: Socialism or Moralism)</h3> <p class="contact--feed__unit hide-if-no-children"> <span class="unit"> School of Languages, Literatures, and Cultures | Cinema and Media Studies </span> </p> <span class="caption bolded">Author/Lead: </span> <span class="caption inline-block--caption"> <a title="View user profile." href="/directory/luka-arsenjuk">Luka Arsenjuk</a> </span> <br> </div> <div class="silc-accordion__content inner-field-wrap"> <div class="silc-accordion__content--leading"> <span class="caption bolded">Dates:</span> <span class="caption inline-block--caption"> <time datetime="2023-01-08T12:00:00Z">Sunday, January 8, 2023 - 12:00</time> </span> <br> </div> <div class="silc-accordion__callout"> <div class="silc-accordion__floating-content"> <p>"“Don’t start with the good old days but the bad new ones.” -- Bertolt Brecht</p> <p> </p> </div> </div> <p><a href="https://nonsite.org/red-aesthetics-rodchenko-brecht-eisenstein/" target="_blank" class="button">Read More<span class="visible-for-screen-readers"> about The Problem of Political Art: Notes on Red Aesthetics</span></a></p>  </div> </section> <section class="silc-accordion__section"> <div class="silc-accordion__header"> <h2 class="silc-accordion__label "> The Audio-Visual Nonrelation and the Digital Break </h2> <h3 class="header__h5">An essay published in The Oxford Handbook of Film Theory (2022)</h3> <p class="contact--feed__unit hide-if-no-children"> <span class="unit"> School of Languages, Literatures, and Cultures | Cinema and Media Studies </span> </p> <span class="caption bolded">Author/Lead: </span> <span class="caption inline-block--caption"> <a title="View user profile." href="/directory/luka-arsenjuk">Luka Arsenjuk</a> </span> <br> <span class="caption bolded">Non-ARHU Contributor(s): </span> <span class="caption inline-block--caption"> Kyle Stevens (ed.) </span> </div> <div class="silc-accordion__content inner-field-wrap"> <div class="silc-accordion__content--leading"> <span class="caption bolded">Dates:</span> <span class="caption inline-block--caption"> <time datetime="2022-09-21T12:00:00Z">Wednesday, September 21, 2022 - 12:00</time> </span> <br> </div> <div class="silc-accordion__callout"> <div class="silc-accordion__floating-content"> <p>In the most widely accepted narratives about the recent history of cinema, the introduction of digital technology typically figures as a significant break, in which the loss of cinema’s analog photographic basis brought about a profound transformation of its nature or ontological status. This essay proposes to revisit this rather straightforward and vision-centric narrative of the digital break in order to question it from the perspective of a more rigorous understanding of cinema as an audio-visual discourse. Drawing on the work of Michel Chion and the psychoanalyst Jacques Lacan, the essay develops a concept of audio-visual discourse as something structured around a constitutive nonrelation between image and sound. Following this, the essay interrogates what consequences such a discursive and non-relational conception of audio-visual phenomena might have for our understanding of cinema’s historicity, in particular when the latter is derived from some kind of figuration of a historical break.</p> <p>Luka Arsenjuk, ""The Audio-Visual Nonrelation and the Digital Break," in The Oxford Handbook of Film Theory, ed. Kyle Stevens (Oxford University Press, 2022), pp. 359–375</p> </div> </div> <p><a href="https://doi.org/10.1093/oxfordhb/9780190873929.013.23" target="_blank" class="button">Read More<span class="visible-for-screen-readers"> about The Audio-Visual Nonrelation and the Digital Break</span></a></p>  </div> </section> <section class="silc-accordion__section"> <div class="silc-accordion__header"> <h2 class="silc-accordion__label "> Movement, Action, Image, Montage: Sergei Eisenstein and the Cinema in Crisis </h2> <h3 class="header__h5">A major new study of Sergei Eisenstein delivers fresh, in-depth analyses of the iconic filmmaker’s body of work.</h3> <p class="contact--feed__unit hide-if-no-children"> <span class="unit"> Cinema and Media Studies </span> </p> <span class="caption bolded">Author/Lead: </span> <span class="caption inline-block--caption"> <a title="View user profile." href="/directory/luka-arsenjuk">Luka Arsenjuk</a> </span> <br> </div> <div class="silc-accordion__content inner-field-wrap"> <div class="silc-accordion__content--leading"> </div> <div class="silc-accordion__callout"> <div class="silc-accordion__floating-content"> <p>What can we still learn from Sergei Eisenstein? Long valorized as the essential filmmaker of the Russian Revolution and celebrated for his indispensable contributions to cinematic technique, Eisenstein’s relevance to contemporary culture is far from exhausted. In Movement, Action, Image, Montage, Luka Arsenjuk considers the auteur as a filmmaker and a theorist, drawing on philosophers such as Georg Wilhelm Friedrich Hegel and Gilles Deleuze—as well as Eisenstein’s own untranslated texts—to reframe the way we think about the great director and his legacy.</p> <p>Focusing on Eisenstein’s unique treatment of the foundational concepts of cinema—movement, action, image, and montage—Arsenjuk invests each aspect of the auteur’s art with new significance for the twenty-first century. Eisenstein’s work and thought, he argues, belong as much to the future as the past, and both can offer novel contributions to long-standing cinematic questions and debates.</p> <p>Movement, Action, Image, Montage brings new elements of Eisenstein’s output into academic consideration, by means ranging from sustained and comprehensive theorization of Eisenstein’s practice as a graphic artist to purposeful engagement with his recently published, unfinished book Method, still unavailable in English translation. This tour de force offers new and significant insights on Eisenstein’s oeuvre—the films, the art, and the theory—and is a landmark work on an essential filmmaker.</p> </div> </div> <p><a href="https://www.upress.umn.edu/book-division/books/movement-action-image-montage" target="_blank" class="button">Read More<span class="visible-for-screen-readers"> about Movement, Action, Image, Montage: Sergei Eisenstein and the Cinema in Crisis</span></a></p>  </div> </section> </div> </div> </section> </div> </div> </div> </div> </div> </div> </section> </div> <footer class="site-footer"> <div class="site-footer__main"> <div class="compartment"> <div class="silc-grid silc-grid--collapse"> <div class="silc-grid__col silc-grid__col--padded silc-grid__col--5-medium site-footer__info"> <a href="https://arhu.umd.edu/"> <img src="/themes/idfive_silc/silc/build/img/logo-white.png" alt="UMD ARHU Logo" class="site-footer__logo"> </a> <address class="site-footer__address"> School of Languages, Literatures, 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